In Circles We Die
The doom is tantalizing, the inner complexity refined on Heavydeath’s newest slab of infinity, In Circles We Die. This is love doom—that is—doom that is easy to love. With its rigid angles, lush parameters, and endless echo, the album beams itself across the space-time continuum, pulling deep cushions, black metal aesthetic, and filtering divine.
This Sweden trio perfects the use of negative space squarely, each riff multiplied, each extension twofold. The band’s unique slowness crawls each centered length, you wait, digging in, and the pay off is circular. The atmospherics are surrounding, and the band utilizes a minimalistic nature as a key to extending their special progression.
The new album is dark and gritty, long and fast, protruding in a murky and refined placement. “The Few Remains” shows off the band’s superior grip of technique and patience. Lead singer and guitarist Nicklas Rudolfsson opens and closes with equal stamina, the band coalescing around his mood, dynamic and original. “Rope of Emptiness” stretches out even further: bassist Johan Backman is in frame, our front and layering; his work diving up Rudolfsson’s arty jaunts. Drummer Daniel Moilanen is a vision of calm and power. “Into Death’s Black Void” is epic, a slow motion neck-ripper, a time capsule of metal at its finest.
Late at night or early in the morn, you can’t help but jam and slam this wicked pummeling nugget of extremity. There’s a punk and spikes attitude that carries Heavydeath to the forefront, a musicianship that is both progressive and real, and a mindset of communal totality. The band flexes and extends, riffing and swirling like wizards of the dark. In Circles We Die is a monster: a behemoth of doom.